The men’s NCAA Division I hoops championship game is tonight, and we can’t tell you whether UConn or Butler is going to win. We can predict two things, though. The winning team will cut down the nets. And CBS will show a highlight montage set to the song “One Shining Moment.” Let’s take a look at the origins of these traditions.
Who’s responsible for college teams cutting down the nets after big wins?
North Carolina State coach Everett Case didn’t realize he was starting a trend in 1947. He just wanted a souvenir.
USA Today’s Michael Gluskin wrote a terrific piece on the origins of college hoops’ net-cutting tradition in 2005. According to Gluskin, Coach Case was so delighted with the Wolfpack’s Southern Conference title win that he decided to cut down the nets as souvenirs.
Of course, being a pioneer can be tough. Since Case was the first coach to cut down the nets, arena workers didn’t have a ladder at the ready for his big moment. Instead, his players had to hoist their coach onto their shoulders as he did his snipping.
Case might not have been the true inventor of the net-cutting tradition, though. While he deservedly gets credit for being the college coach who popularized the net-cutting ritual, some sources – including Tim Peeler’s Legends of N.C. State Basketball - claim Case actually brought the tradition with him from Indiana, where he’d been a hugely successful high school coach before coming to Raleigh to coach the Wolfpack. Either way, cutting down the nets may have remained an obscure Hoosier State tradition had Case not brought the practice to the national stage.
What about the other big postgame tradition, the tourney highlight montage set to “One Shining Moment”?
Glad you asked. Any hoops fan can tell you that the song is pretty cheesy and more than a little over-the-top. It’s also one of the best parts of CBS’ annual coverage of the Final Four. Where the heck did “One Shining Moment” come from, and why do we only hear it once a year?
To be fair, there are really only so many opportunities to play a slightly sappy song about basketball. Peter Hyman of The New York Times wrote a profile on David Barrett, the composer of the tune, in 2007. The song is actually the product of an ill-fated attempt to woo a woman.
In 1986, Barrett was an unknown 31-year-old folk singer when he went to a bar in East Lansing, MI, to watch a Boston Celtics game. When a beautiful waitress sat down next to him after her shift, Barrett decided to spark conversation by chatting about Larry Bird’s hoops abilities.
Believe it or not, the singer’s ploy didn’t work. Barrett told Hyman that he resolved to write a tune that could show the waitress who snubbed him just how beautiful basketball could be. The next morning he wrote the song on a napkin in 20 minutes.
The song might have faded into oblivion as one of the odder “I’ll show them all!” pipedreams a folk singer has ever had. Barrett had a well-placed buddy, though. Journalist Armen Keteyian had been a high school classmate of Barrett’s, and he passed a demo tape of the song around to network producers.
CBS liked the song and bought it for use in a highlight package it planned to air after Super Bowl XXI. (Yes, the iconic hoops song was very nearly a football song.) The package didn’t make the final cut when the broadcast ran long, but the network revived it following the 1987 Final Four.
The package with “One Shining Moment” was a huge hit, and CBS has kept it around ever since. Barrett provided the vocals for the original version of the song, but some big names have belted out the tune since. Teddy Pendergrass took over vocal duties for a few years in the 90s before Luther Vandross recorded his own version. Jennifer Hudson sang the song for last year’s championship package, but fans roundly criticized her version. (It’s worth noting, though, that fans were mostly irked that producers had inserted so many shots of Hudson in the highlight montage; nobody’s debating that Hudson’s a tremendous singer.)
Here's last year's version, which YouTube user sparty801 re-edited with Vandross' rendition of the song.
It took a backpacking trip to Thailand and a bit of serendipity for Kanchan Singh to realize her life goal of saving cats while serving lattes. “I met these two guys on the road [in 2014], and we became friends,” Singh tells Mental Floss about Crumbs & Whiskers, the bicoastal cat cafe she founded in Washington, D.C. in 2015 which, in addition to selling coffee and snacks, fosters adoptable felines from shelters. “They soon noticed that I was feeding every stray dog and cat in sight," and quickly picked up on the fact that their traveling companion was crazy about all things furry and fluffy.
On Singh’s final day in Thailand, which happened to be her birthday, her friends surprised her with a celebratory trip to a cat cafe in the city of Chiang Mai. “I remember walking in there being like, ‘This is the coolest, most amazing, weirdest thing I’ve ever done,'” Singh recalls. “I just connected with it so much on a spiritual level.”
Singh informed her friends that she planned to return to the U.S., quit her corporate consulting job, and open up her own cat cafe in the nation’s capital. They thought she was joking. But three years and two storefronts later, the joke is on everyone except for Singh—and the kitties she and her team have helped to rescue.
A customer pets cats while drinking coffee at the flagship Washington, D.C. location of cat cafe Crumbs & Whiskers.
Courtesy of Crumbs & Whiskers
Washington, D.C. customers stroke a furry feline while enjoying coffee at Crumbs & Whiskers.
Courtesy of Crumbs & Whiskers
Crumbs & Whiskers—which, in addition to its flagship D.C. location, also has a Los Angeles outpost—keeps a running count of the cats they've saved from risk of euthanasia and those who have been adopted. At press time, those numbers were 776 and 388, respectively, between the brand’s two locations.
Prices and services vary between establishments, but customers can typically expect to shell out anywhere from $6.50 to $35 to enjoy coffee time with cats (food and drinks are prepared off-site for health and safety reasons), activities like cat yoga sessions, or, in D.C., an entire day of coworking with—you guessed it—cats. Patrons can also participate in the occasional promotion or campaign, ranging from Black Friday fundraisers for shelter kitties to writing an ex-flame's name inside a litter box around Valentine's Day (where the cats will then do their business).
Cat cafes have existed in Asia for nearly 20 years, with the world’s first known one, Cat Flower Garden, opening in Taipei, Taiwan in 1998. The trend gained traction in Japan during the mid 2000s, and quickly spread across Asia. But when Singh visited Chiang Mai, the cat cafe craze—while alive and thriving in Thailand—had not yet hit the U.S. "Why does Thailand get this, but not the U.S.?" Singh remembers thinking.
Once she arrived back home in D.C., Singh set her sights on founding the nation’s first official cat cafe, launching a successful Kickstarter campaign that helped her secure a two-story space in the city’s Georgetown neighborhood. Ultimately, though, she was beat to the punch by the Cat Town Cafe in Oakland, California, which opened to the public in 2014, followed shortly after by establishments like New York City’s Meow Parlour.
LA customers at cat cafe Crumbs & Whiskers
Courtesy of Crumbs & Whiskers
Still, Crumbs & Whiskers—which officially launched in D.C. in the summer of 2015—was among the nation’s first wave of businesses (and the District's first) to offer customers the chance to enjoy feline companionship with a side of java, along with the opportunity to maybe even save a tiny life. Ultimately, the altruistic concept proved to be so successful that Singh, sensing a market for a similar storefront in Los Angeles, opened up a second location there in the fall of 2016. "I always felt like what L.A. is, culturally, just fits with the type of person that would go to a cat café," she says.
Someday, Singh hopes to bring Crumbs & Whiskers to Chicago and New York, and “for cat cafes as a concept, as an industry, to grow,” she says. “I think that it would be great for this to be the future of adoptions and animal rescues.” Until then, you can learn more about Crumbs & Whiskers (and the animals they rescue) by stopping by if you're in D.C. and LA, or by visiting their website.
It's no wonder The Princess Bride is such a beloved film: It's action-packed but still lighthearted, sweet but not saccharine, silly but still smart—and, of course, endlessly quotable. Fortunately, in 2012, the movie's leading man Cary Elwes was inspired to write a behind-the-scenes book about the making of the movie in honor of its 25th anniversary, for which he interviewed nearly all of the key cast and crew (sadly, André the Giant, who played Fezzik, passed away in 1993).
William Goldman, who wrote the novel The Princess Bride in 1973 and penned the screenplay, toldEntertainment Weekly that, "I had two little daughters, I think they were 7 and 4 at the time, and I said, 'I’ll write you a story. What do you want it to be about?' One of them said 'a princess' and the other one said 'a bride.' I said, 'That’ll be the title.'"
2. BOTH THE DIRECTOR AND THE LEADING MAN ALREADY KNEW AND LOVED THE STORY BEFORE FILMING EVEN BEGAN.
Cary Elwes' stepfather had given him Goldman's book in 1975, when the future actor was just 13 years old. Rob Reiner, who directed the movie, first read the book in his 20s when Goldman gave it to his father. It quickly became Reiner's favorite book of all time, and he had long wanted to turn it into a movie—but he had no idea that many before him had tried and failed.
3. FOR A LONG TIME, NO ONE WAS ABLE TO MAKE THE MOVIE.
At one point or another, Robert Redford, Norman Jewison, John Boorman, and François Truffaut all tried to get the book made into a movie, but due to a series of unrelated incidents—"green-lighters" getting fired, production houses closing—it languished for years. (In one of these proto-Princess Brides, a then-unknown Arnold Schwarzenegger was supposed to play Fezzik.)
After several false starts, Goldman bought back the rights to the book. The movie only got made because Reiner had built up so much good will with movies like This is Spinal Tap and The Sure Thing that the studio, 20th Century Fox, offered to make any project of his choice.
4. MANDY PATINKIN FELT A PERSONAL CONNECTION TO THE CHARACTER OF INIGO MONTOYA.
"The moment I read the script, I loved the part of Inigo Montoya," Patinkin toldEntertainment Weekly. "That character just spoke to me profoundly. I had lost my own father—he died at 53 years old from pancreatic cancer in 1972. I didn’t think about it consciously, but I think that there was a part of me that thought, If I get that man in black, my father will come back. I talked to my dad all the time during filming, and it was very healing for me."
5. ANDRÉ THE GIANT COULD REALLY, REALLY DRINK.
Three bottles of cognac and 12 bottles of wine reportedly made him just a little tipsy. When the cast would go out for dinner, André—who, according to Robin Wright, ordered four appetizers and five entrees—would drink out of a 40-ounce beer pitcher filled with a mix of liquors, a concoction he called "The American."
6. ANDRÉ HAD AN UNCONVENTIONAL METHOD FOR LEARNING HIS LINES.
Reiner and Goldman met André, then a famous wrestler, at a bar in Paris. "I brought him up to the hotel room to audition him. He read this three-page scene, and I couldn’t understand one word he said," Reiner recalled. "I go, ‘Oh my God, what am I going to do? He’s perfect physically for the part, but I can’t understand him!’ So I recorded his entire part on tape, exactly how I wanted him to do it, and he studied the tape. He got pretty good!"
7. WILLIAM GOLDMAN WAS INCREDIBLY NERVOUS ON THE SET.
Of all the projects he’d written and worked on—which included the Academy Award-winning Butch Cassidy and the Sundance Kid—Goldman loved The Princess Bride best of all. This manifested itself as extreme nervousness about the project. Reiner invited Goldman to be on set for the duration of the filming—which Goldman did not want to do, saying, “I don’t like being on set. If you’re a screenwriter, it’s boring”—but on the first day, he proved to be a slight nuisance. The first couple takes were plagued by a barely-audible chanting, which turned out to be Goldman praying things would go well. And when Wright's character's dress caught on fire, he panicked, yelling, "Oh my god! Her dress is on fire!"—even though Goldman himself had written that into the script.
8. WALLACE SHAWN WAS BRILLIANT, BUT ALWAYS ON EDGE.
Shawn, who played Vizzini the Sicilian, really is, like his character, a man of "dizzying intellect." He has a history degree from Harvard and studied philosophy and economics at Oxford. In fact, on a day off from filming The Princess Bride, Shawn went to Oxford to give a guest lecture on British and American literature. But Shawn was inconsolably nervous for the entirety of filming.
After learning from his agent that Reiner had originally wanted Danny DeVito for the part, Shawn was wracked with insecurity, perpetually convinced that he was going to be fired after every bad take. "Danny is inimitable," Shawn said. "Each scene we did, I pictured how he would have done it and I knew I could never possibly have done it the way he could have done it," he said.
9. THE DUEL BETWEEN WESTLEY AND INIGO WAS EXCRUCIATINGLY RESEARCHED AND REHEARSED.
Goldman spent months researching 17th-century swordfighting manuals to craft Westley and Inigo's duel; all the references the characters make to specific moves and styles are completely accurate. Then Elwes and Patinkin, neither of whom had much (if any) fencing experience, spent more months training to perfect it—right- and left-handed.
"I knew that my job was to become the world’s greatest sword fighter," Patinkin recalled in Elwes's book. "I trained for about two months in New York and then we went to London and Cary and I trained every day that we weren’t shooting for four months. There were no stuntmen involved in any of the sword fights, except for one flip in the air.” Even after months of pre-shooting training, the fencing instructors came to set and, when there were a few free minutes, would pull Elwes and Patinkin aside to work on the choreography for the scene, which was intentionally one of the last to be shot.
10. IT WAS ELWES'S IDEA TO DIVE HEADFIRST INTO THE "QUICKSAND."
That particular Fire Swamp stunt was accomplished by having a trap door underneath a layer of sand, below which there was foam padding for the actors to fall onto. Originally, the direction called for Westley to jump in feet-first after Buttercup, but Elwes argued this wasn't particularly heroic. Switching up the direction was a risky move—if the trap door wasn't opened at exactly the right instant, Elwes risked banging his head—or even breaking his neck. After the stunt double successfully executed the dive, Elwes himself tried it, and nailed it perfectly on the first take.
11. MIRACLE MAX REALLY WAS THAT FUNNY—AND YOU'RE NOT EVEN SEEING HIS BEST STUFF.
Billy Crystal brought two photos for his makeup artist, Peter Montagna, to draw inspiration from when creating Miracle Max: Crystal’s grandmother and Casey Stengel. As for the acting, Elwes wrote in his book, "For three days straight and 10 hours a day, Billy improvised 13th-century period jokes, never saying the same thing or the same line twice." Unfortunately for viewers, many of the improvised jokes were not fit for a family-friendly film. Only the cast and crew knows how funny his more crude Miracle Max takes were, but judging from the fact that Patinkin bruised a ribtrying to stifle his laughter, as he recounts in the book, they were probably pretty good.
12. BILLY CRYSTAL AND CAROL KANE, WHO PLAYED HIS WIFE, INVENTED AN ENTIRE BACKSTORY.
"Billy came over to my apartment in Los Angeles and we took the book and underlined things and made up a little more backstory for ourselves," Kane said. "We added our own twists and turns and stuff that would amuse us, because there’s supposed to be a long history—who knows how many hundreds of years Max and Valerie have been together?" How has that pair not gotten a spin-off film yet?
13. ELWES FILMED MANY OF HIS SCENES WITH A BROKEN TOE.
Six weeks into production, André convinced Elwes to go for a spin on the ATV that was used to transport the larger man to and from filming locations because he didn’t fit in the van. Almost immediately, the vehicle hit a rocky patch and Elwes got his foot stuck between two mechanisms in the vehicle, breaking his big toe. The young actor tried to hide the injury from his director, but, of course, Reiner quickly found out. He didn't find a new Westley, as Elwes feared he might, but they did have to work some movie magic to allow Elwes to limp around in many of the scenes undetected.
14. ONE PARTICULAR ON-SCREEN INJURY WASN'T FAKED.
As soon as Westley recognizes Count Rugen as the six-fingered man, the script calls for the Count to knock our hero unconscious with the butt of his sword. In filming, Christopher Guest, who played Rugen, was naturally reluctant to really hit Elwes for fear of hurting him. Unfortunately, this reticence was reading on screen and take after take failed to look convincing. Finally, Elwes suggested Guest just go for, at least tap him on the head to get the reaction timing right. The tap came a little too hard, however, and Elwes was knocked legitimately unconscious; he later awoke in the hospital emergency room. It's that take, with Elwes actually passing out, that appears in the film.
15. ONE OF THE FINAL SCENES NEVER MADE IT INTO THE FINAL FILM.
In an alternate ending that was eventually cut, Fred Savage—who plays the initially reluctant audience to Peter Falk's reading of The Princess Bride—goes to his window after his grandfather has left and sees Fezzik, Inigo, Westley, and Buttercup all on their white horses.